Nana Visitor

A lithe TV actress with reddish brown hair and a healthy level of nervous energy, very prolific in TV guest spots since the late 1970s, Nana Visitor can be found playing a wide variety of roles on ser...
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In analyzing the most recent poster for Star Trek Into Darkness, of a structural-integrity-challenged Enterprise falling to Earth, I asked a question that oddly enough not many had considered: exactly what was doing battle with Kirk's ship? One really formidable starship enemy or a whole fleet of attackers? If it's just one ship, it's likely that Benedict Cumberbatch's baddie John Harrison is pulling a Khan and has merely commandeered it. Remember, he's called a Federation "agent," not a captain.
Well, now we know. Paramount has released a third trailer for the movie (out May 17) and it's the most revealing clip we've seen yet. We've got Klingons, we've got space battles, and we've got an answer to my question: Harrison has one, really big, really menacing, black-tinted starship that dwarfs the Enterprise. Which is odd because Star Trek Into Darkness takes place just six months after 2009's Star Trek, and I'm pretty sure at that point the Enterprise was considered to be the most advanced ship in the fleet. Could this be further fuel for my theory that Harrison is actually an "agent" for black-ops, deep-cover Federation intel agency Section 31? Maybe he really is trying to lead some kind of Seven Days in May-style mutiny within Starfleet to push the Federation toward a less exploratory-minded security state?
It would make sense for Section 31 to have a more advanced ship than even Kirk &amp; Co. know about. Shame it wasn't around to fight Nero and the Nerada in the last movie, especially if its black-hull indicates some kind of stealth or cloaking technology that they developed on the sly using Romulan technology. I mean, just look at the size of that thing in the freeze-frame above! It blots out the sky in front of Kirk's ship.
Despite all the rumors about Harrison really being Khan, I'm still not convinced. For one, is J.J. Abrams really going to whitewash a Sikh Indian character to the point where he's played by pasty Englishman Benedict Cumberbatch? I'm sorry, the pastiest Englishman? For two, why would an alternate universe remake of The Wrath of Khan, one pop culture totem that's truly unassailable, be a desirable thing? Aren't you setting up impossibly high expectations? (Then again this is the guy who's directing Star Wars Episode VII.) Maybe Khan will appear. Maybe John Harrison will have undergone genetic resequencing just like Toby Stephens in Die Another Day — exactly what we want to see ! — but there's another explanation, also involving genetic resequencing that I think may explain all. Allow me to introduce the first exhibit in our photo essay below: Klingons!
Yes, if you couldn't already tell from the forehead ridges, those are Klingons. In a deleted scene from his 2009 film J.J. Abrams cast Victor Garber to play a Klingon interrogator who questions Eric Bana's Nero about his time-traveling intent. These are the exact same helmets that the Klingons in that deleted scene wore. Now, some have speculated that John Harrison is trying to provoke war between the Federation and the Klingons. Uh-uh, as far as I'm concerned.
What if Harrison and his Federation conspirators are working with the Klingons. That would explain that freaky black ship. The Klingons have cloaking technology! They could have given it to Harrison and his Section 31 colleagues. The Klingons also got a better look at that 24th century tech Nero brought back in time with him than anybody, since they captured the guy. They could have given that to Harrison as well. But why? Is it, like in Star Trek VI: The Undiscovered Country, a plot hatched by the war hawks in both the Federation and the Klingon Empire to wage war against each other for their mutual profit? Or, wait for it, is Harrison a Klingon himself?
You may be thinking right now that I'm crazy. I'd say, yes...but like a targ! In the mid-23rd century, as seen in The Original Series, some Klingons looked really different from the forehead-ridged Klingons we all know and love. The former category of Klingons looked human.
Now we all know that the real reason for them looking little different from Kirk's crew on the '60s TV series is that Desilu Productions had no makeup budget. Most of the aliens on that show look human. But considering how different they've looked ever since Star Trek: The Motion Picture, where they were first given dark skin, forehead ridges, and pointy teeth, the makers of Trek had to come up with an in-universe explanation. It was first hinted at in one of the all-time great episodes of Star Trek: Deep Space Nine, "Trials and Tribble-ations," in which the DS9 crew travel a hundred years back in time to Kirk's Enterprise during the events of the classic "Trouble with Tribbles" episode. Here's what Worf had to say about the Klingons' very different appearance at the time.
Both Dr. Bashir and Chief O'Brien are right. It was genetic engineering... that became a viral mutation. And it was only elaborated to us Trekkers in the fourth season of Star Trek: Enterprise. Some of Khan's fellow genetic supermen were awakened in the mid-22nd century on that show, but without Khan because that show had the good sense to not try to recast Ricardo Montalban. These genetically blessed individuals were the result of experiments in the late 20th century to create individuals who were smarter and stronger than normal humans. Only problem? They were psychotic. I mean, filled with the most insane delusions of grandeur. Khan was their leader, and in the 1990s they waged war against the genetically inferior from their home base in Central Asia. You were probably too busy listening to the Macarena to care, but in 1996, Khan and his Übermenschen followers were defeated, and he was exiled in space aboard the S.S. Botany Bay. Because apparently we exile people to outer space, despite the fact that, even then, with all that sweet Clinton Era funding, NASA was barely functional when it came to manned space flight.
But anyway, fast-forward a couple centuries to the mid-2150s. One of the ships carrying a bunch of the genetic supermen in deep hibernation was discovered. The genetic supermen were reawakened. And a few of them ended up in Klingon hands. The Klingons thought the supermen were part of an Earth plot to weaponize humanity and endow ordinary folks with the sheer burliness required to be an equal opponent to any Klingon warrior. In short, the Empire was threatened. And this is part of why the Klingons and Earth got off to a bad start in their relationship. Scientists in the Empire felt that they needed to close the genetic superman gap and start doing some freaky manipulation to their own genome. The humans had maybe increased their strength. But the Klingons would go for stealth. They would alter their genetic structure by adding in some human DNA. They would then lose their forehead ridges and look exactly like humans... meaning that they could infiltrate Earth as spies and not be noticed. Maybe one or two could even make it into Starfleet and bring down their enemy from the inside.
Unfortunately, these genetic experiments quickly turned into a virus that ended up affecting much of Klingon society. Meaning that most Klingons ended up looking like ordinary human beings. The advantage of surprise would be lost if all Klingons looked like humans. A century later, in the mid-2260s during the events of The Original Series, we see that the Klingons still hadn't solved this problem. They still look like blokes. So what if John Harrison is a Klingon who, rather than just picking barfights with Scotty and letting Tribbles overtake his ship like so many in the Empire in those days, actually is living up to his original directive? What if he in fact has infiltrated the Federation and is leading a mutiny from within, supposedly to save it from its touchy-feely pro-exploration policies? But what if he really just wants to bring it down? Let's look at some more visual evidence from the new trailer.
This is basically a new angle on what we've already seen in previous clips, but its repeated presence goes to show that the Klingons really are going to be a major deal in this movie. A Bird of Prey keeps firing on a shuttlepod piloted by Kirk and Spock, through some kind of urban sprawl. I'm guessing this is Qo'nos, the Klingon homeworld itself.
Now here's the funny thing: Khan could still be in this movie. We know from Star Trek: Enterprise, the one series that was not affected by the timeline changes from the 2009 film because of it being a prequel show, that the Klingons were already interested in genetically engineered humans. What if, then, because of the timeline changes they decided to seek out Khan in the Botany Bay and actually found him? Even in The Wrath of Khan, he displays an affinity for Klingon culture by quoting their old proverb "Revenge is a dish best served cold." Khan could now be working for the Klingons and John Harrison could be his envoy. And we haven't even seen the supervillain yet!
From this photo, you can tell just how massive Harrison's ship is in comparison to the Enterprise. What if Klingon John Harrison infiltrated Section 31, where he fed the Federation organization schematics from Nero's ship, the Nerada, that the Klingons had discovered years earlier so that they could buid their own, comparable vessel? How else to explain what is obviously a ship of some Federation hybrid design that no one else in Starfleet seems to have seen before? It seems unlikely that Abrams would go to the time-travel well again and have this much larger ship be from the future. Some commenters online have already said that it looks like Jean-Luc Picard's Enterprise-E from a century later but those flared warp nacelles look way too much like Kirk's ship to have come from any other time. But I bet it has a cloaking device...
Quick break to feast your eyes on Zoe Saldana's Uhura in a catsuit.
An Aside: 2009's Star Trek featured Uhura in lingerie. An earlier trailer for Star Trek Into Darkness has also shown Alice Eve's Carol Marcus in lingerie. But here's the thing. Star Trek fans, and I'm taking it upon myself to speak for us collectively here, know that sexiness isn't contigent upon baring a lot of skin. In fact, we Trekkers prefer the skin-hugging catsuit look. Exhibit A: Nana Visitor's Kira Nerys on Deep Space Nine. Exhibit B: Jolene Blalock's T'Pol on Enterprise. Exhibit C: Jeri Ryan's Seven of Nine on Voyager. That's why one of the smartest things I've seen from any trailer for Star Trek Into Darkness is that Zoe Saldana's Uhura is in a peel-off, curve-hugging body suit. With a collar! Never underestimate the sexiness of collars. Or the sexiness of zippers! Seven of Nine never had a zipper. How did she ever get out of that skin-tight rig on Voyager? Something worth pondering. End Aside.
More evidence that some Klingon or Romulan technology is at work on Harrison's ship! Its torpedoes leave an exhaust trail, consistent with the plasma torpedoes found on Romulan Warbirds and Klingon Birds of Prey at this time. Federation photon torpedoes don't leave any kind of trail. And what is that weird spherical pod in the center of the frame? Please say it's not those pods from Oblivion.
If I wanted to, I could say that spherical ship looks to be of Suliban design, suggesting that John Harrison is really a Suliban shapeshifter who can assume any form he wants. But I have some sanity left, and I must guard that sanity carefully.
Mark my words: John Harrison is a Klingon, Khan may indeed be lurking on the sidelines, and catsuits are awesome.
What do you think?
Follow Christian Blauvelt on Twitter @Ctblauvelt
More: What is Attacking the Enterprise in ‘Star Trek Into Darkness.’ Is It a Goner? Could John Harrison Be a Member of Section 31? How ‘DS9’ Boldly Became the Best ‘Trek’
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Friends, Klingons, readers! Welcome to the inaugural edition of Get Thee to the Geek, Hollywood.com’s weekly column devoted to everything that prevented you from getting a date in high school: sci-fi, comics, videogames, basically anything that features something going “pew pew.” We’re not just going to limit ourselves to movies, TV, or games—if there’s something worth obsessing about, we will obsess about it. For Volume 1 of this column, I thought about doing something all pretentious like come up with a geek mission statement. But then I realized we’re not the types who like an ordered set of guidelines to govern our interests. In fact geekery is defined by only one thing. And that one thing is not a quality you might automatically associate with geeks but is really the foundation of contemporary geek culture: passion.
We geeks unabashedly, unreservedly love the things we love, without regard to such matters as taste or cred. Oddly enough, that means true geeks typically have great taste, which has given geek culture enough cred for us to have pretty much taken over American entertainment. As Hollywood’s annual tribute-paying at Comic Con shows, geeks are loud, proud, and a more coveted demo than ever. And who are the loudest, proudest geeks of all? Trekkers. So for the first ever Get Thee to the Geek, we’re going to dive deep into a show that’s cast a remarkable, if largely unrecognized shadow over contemporary pop culture. A show that’s a subculture within a subculture: Star Trek: Deep Space Nine.
Sure, The Original Series gave us Kirk, Spock, and McCoy, green space babes, tribbles, and Clint Howard as an evil genius baby. The Next Generation gave us an individual with possibly the single greatest moral compass in TV history: Capt. Jean-Luc Picard. And even Voyager remains startlingly underrated, with an incredible lineup of brainy girl power that made possible J.J. Abrams’ “Babes Who Kick Ass” phenomenon. But Deep Space Nine is better than all of these. Fourteen years after it signed off, in May 1999, DS9 hasn’t aged a day, but continues to move and inspire. 2013 represents the show’s 20th anniversary, and instead of getting drunk on Klingon blood wine we’ve decided to honor the occasion by presenting nine reasons why it’s the best that Star Trek has ever been, and how its influence is still being felt.
1. It’s the Only Star Trek Series That Shows What It’s Really Like to Live in the 24th Century
Based on The Original Series and The Next Generation, you’d be forgiven for thinking that everyone, and I mean everyone, living three centuries in the future is a member of Starfleet. The only view we have of that more enlightened future Earth is of the United Federation of Planets’ exploratory military branch. Okay, partly that’s because it was always easier and more cost-effective for Trek to set episodes largely within the already-built sets of the Enterprise interiors. It hardly seems a more enlightened future, though, if everyone is in the military. Deep Space Nine opened up the Star Trek universe and finally showed us what it would be like to live there. The show was set on a space station, not a starship, near the Wild West frontier of the Federation’s most distant borders. Purists who venerated Gene Roddenberry’s original “wagon train to the stars” vision cried foul, even though Roddenberry himself approved the space station concept before his death in 1991. But setting the show in one place allowed us to explore the Star Trek creator’s utopian vision like never before: here was a place where beings of all races could commingle, conduct trade, get drunk at Quark’s bar, and let off steam in the holodeck. Deep Space Nine, the name of the space station, was actually a place to live in.
RELATED: ‘Star Trek Into Darkness’ Trailer: Khan We Tell Who the Villain Is?
That allowed for the best worldbuilding—a term that’s become only more relevant since DS9’s 1993 debut--that Trek has ever given us. A vision of what it’s like to work, play, and live in the 24th century. With strong worldbuilding you can engage with and immerse yourself in a fantasy environment all the more fully, and invest more deeply in its characters. That’s what one of DS9’s writer-producers, Ronald D. Moore, learned from the show and brought with him when he relaunched Battlestar Galactica in 2003. Of course, exploration was still a big part of the DS9 concept. There were Runabout shuttles for away missions and, later, the coolest Federation starship ever, the U.S.S. Defiant. DS9 avoided the glistening, but antiseptic, white-on-white corridors that were the defining features of interior design on the previous shows. That’s partly a reason why…
2. DS9 Gave Star Trek a Harder Edge
Today, adding a touch of darkness to your sci-fi/fantasy franchise is equated with seriousness of intent. Just think of how many people want a Star Wars: Episode VII that’s harder-edged than the prequel trilogy. Somehow a more gritty Episode VII will be a movie that’s taken more seriously. That’s a false correlation, if you ask me, but on DS9 it worked beautifully. In fact, it may be the first example of a franchise reevaluating itself by going in a decidedly more dark direction. For one, since the space station was in essence a border town, there were many opportunities to question the Federation and test its values. And, more than ever, it allowed for us to view the Federation from the perspective of outsiders. Check out this great discussion between DS9’s Ferengi barman Quark and his Starfleet ensign nephew, Nog, about the fragility of human beings,’ well, humanity.
The idea of Star Trek not being all about starry-eyed optimism was revolutionary, and the tone was set from the get-go in the 1993 pilot episode, “Emissary.” Here’s how the show began, with tragedy and loss, and one incredibly ominous opening crawl:
You’ll also notice that J.J. Abrams opened his 2009 Star Trek with a prologue just like that. Later in the pilot, DS9 made its break with Trek tradition even more clear. Commander Benjamin Lafayette Sisko (Avery Brooks), the fiery star of the show, has an incredibly tense meeting with Patrick Stewart’s Jean-Luc Picard in which the Enterprise captain has to acknowledge the fact that he played a role in the death of Sisko’s wife, when he (unwillingly) gave the Borg intel about Starfleet’s defense protocols. Picard, our hero, seems strangely unburdened by the cost of the carnage he has indirectly unleashed…until that moment. Suddenly, guilt became a part of Star Trek, and so did regret.
NEXT: Why so serious? Yeah, DS9 could be dark, but it was also the funniest Trek series by far.
3. Trek’s Morality Suddenly Got a Lot More Ambiguous
So DS9 existed in a world of greater verisimilitude than any Trek series before it, and with it presenting us a “real world” came the realization that right and wrong aren’t always absolute. Sometimes ignoble actions are necessary to facilitate noble goals. This was the theme of the episode that’s often considered the very best of the series, Season 6’s “In the Pale Moonlight,” when Capt. Sisko (yes, after three seasons he finally got a promotion) revealed how he helped stage an assassination in order to force the Romulans to join the Federation’s fight against the primary antagonists of the show, the Dominion. Avery Brooks directly addresses the camera in that ep, like he’s straight out of House of Cards…and yet he’s still never less than our hero. “I lied, I cheated, I bribed men to cover the crimes of other men. I am an accessory to murder. But the most damning thing of all? I think I can live with it. And if I had to do it all over again? I would.”
It’s impossible to imagine Kirk or Picard making such a boldly relativistic statement about morality.
RELATED: ‘Star Trek Into Darkness’: There Be Klingons Here!
4. But It Really Has a Sense of Humor!
I’m making DS9 sound like a depressing exercise in interstellar sturm und drang. Far from it. Yes, the show was Trek at its darkest. The way it killed off characters very much preceded how cheap life is on TV today. Heroes could have a streak of larceny in them. But episode for episode, I’d say DS9 was the funniest Trek of all. Take a look at this great moment between barman Quark (Armin Shimerman) and his Cardassian patron Garek in which they pair the moral inquiry and ambiguity that made the show so smart with a dash of rapier wit.
And the laughs on DS9 weren’t all dialogue-driven. One of the most inventive TV episodes of all time, “Trials and Tribble-ations,” digitally inserted the time-traveling DS9 crew into scenes from the Original Series episode, “The Trouble With Tribbles,” from 1967. In the episode, the culture clash between the 24th and 23rd centuries was at issue, but, in real life, for us, it was about how much the conventions of television had changed between the ‘60s and the ‘90s.
5. It Was a Bold Experiment in Serialized Storytelling
Star Trek had always been episodic, devoting one episode to a single mystery, conflict, or quest. DS9 upended that and paved the way for today’s serialized storytelling with long-term story arcs. The last five seasons of its seven season run are concerned with the Federation’s run-ins with primary series antagonists, the Dominion, culminating in a war between the two great powers that dominates the storylines of Seasons 6 and 7. Serialized shows like Lost and Battlestar Galactica, that also featured sprawling ensembles, focused heavily on how their characters lived their lives, and balanced moral murkiness with humor, something unimaginable without the precedent set by DS9.
NEXT: It's the characters, stupid. Why DS9 didn't just prove to be influential but revolutionary.
6. It Featured the Best Special Effects in the History of the Medium
Back to that whole lived-in realism thing…I don’t know if there’s ever been a show in the history of the tube with better special effects. I remember watching an episode of ABC’s V a couple years back and thinking that some force-field effect they had looked worse than what DS9 was doing 15 years before. And V was a network show, while DS9 was merely in syndication until 1995, at which point it went to UPN, hardly a guarantee of quality. Mostly, it’s because the Trek franchise’s TV production company, Paramount Television, had contracted Industrial Light &amp; Magic to render its effects. Here’s a space battle from DS9’s 1998 season finale. I’ll be damned if it doesn’t look every bit as good today.
7. It Was That Rarest of All Things…A Sci-Fi Character Study
But as great as the special effects were on DS9, what was truly dazzling was its exploration of its characters. Sci-fi isn’t traditionally known for its emotionalism. But the astonishing number of heart-tugging moments during its run, testifies to DS9’s deep investment in the psychology of its characters and the crafting of complex, resonant relationships among them. SPOILER ALERT if you don’t want to see the final parting of Rene Auberjonois’ Odo and Nana Visitor’s Kira in the following video from the series finale. To me, however, this was indicative of everything that made the show so great. Even watching it out of context and on YouTube I still found myself getting misty-eyed.
8. It Featured the Best Ensemble of Any Trek Series
Of course, as great as the DS9 writing team, led by Ira Steven Behr, Michael Piller, and Ronald D. Moore, was, it wouldn’t have meant anything without an exceptionally gifted cast to bring those characters to life. Brooks brought a theatrical flair to Captain Sisko, Alexander Siddig brought finesse and elan to Dr. Bashir, Robert Altman veteran Rene Auberjonois brought quirkiness and off-beat charm to Odo, Nana Visitor feistiness and tenacity to Kira, Armin Shimerman gleeful amorality to Quark, Terry Farrell intelligence and sexiness to Dax, not to mention those two great additions from The Next Generation, Colm Meaney as Miles O’Brien and Michael Dorn as Worf.
RELATED: ‘Star Wars: The Clone Wars’ Recap: Good Jedi Gone Bad
9. It Was Groundbreaking In Its Diversity Without Ever Being Smug or Self-Conscious About it
After years of shows with racially and ethnically diverse casts like Lost and Grey’s Anatomy we may forget just how revolutionary it was in 1993 to cast an African-American as the lead on a show not geared primarily toward an African-American audience. And as a Starfleet Captain no less! This was not color-blind casting, however. A native of New Orleans and proud of his heritage, Sisko was truly a 24th century African-American. The key was that, though he was proud of being black, he wasn’t defined solely by being black. The same goes for a character that was every bit as groundbreaking, Alexander Siddig’s Dr. Bashir, who may have been the first-ever Arab character as a series regular on an American primetime drama. Bashir was cultivated, stylish, savvy. Oh, and a genius. Quite a difference from the way people of Arab descent are often stereotyped on TV. The fact that DS9 acknowledged this diversity, while making it clear that each character’s race and ethnicity was only one part of what made each unique was a triumphant balancing act that many series still struggle with today.
Quietly revolutionary and hugely influential, for my latinum DS9 is one of the most important shows of the last 20 years. It still boldly goes where other series fear to tread. Today’s geek culture is unimaginable without it.
Follow Christian Blauvelt on Twitter @Ctblauvelt
[Paramount/Everett Collection]
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If the original Star Trek series boldly went where no man has gone before, then the same cannot be said for William Shatner’s new Trekkie-centric documentary Get a Life! (Epix, July 28, 8 PM ET/PT). It’s not particularly bold, and perhaps more egregiously, it goes where many have gone before: into the well-known world of obsessed Trek fans.
46 years after the Starship Enterprise took off, the passionate fans who have devoted themselves to the mythology, culture and aesthetic of Star Trek are perhaps just as iconic as the series itself. We’ve seen their elaborate costumes; we’ve witnessed their unparalleled knowledge of Trek trivia and episodic lore; we’ve heard their stories of finding love and forming deep friendships at conventions, staples of Trek fandom which have become just as familiar to non-fanatics. The story of the Trekkies has been told so often in pop culture (most notably in the 1997 documentary, the enigmatically-titled Trekkies) that there’s frankly nothing left to tell. Shatner wrote, produced, directed and (kind of) stars in the documentary, which visits a Vegas Star Trek convention celebrating the show's momentous 45th anniversary, but unfortunately for Shatner and all parties involved, the doc doesn’t do much other than rehash these same stories.
Still, even if we've heard the stories of clingy Klingons before, what Get a Life! has going for it — aside from an ill-fitted title derived from an old Saturday Night Live sketch — is a nonstop supply of heart. When Shatner isn't wasting time interviewing the tedious Robert Walter (longtime purveyor of mythology and utterly un-thrilling camera personality), the stories of fan compassion are little gems, whether we've heard them before or not.
There’s the guy who tenderly proposed to his wife onstage during a memorabilia auction; the group of women who befriended each other decades ago thanks to their shared love of Nana Visitor; and the touching tale of “Captain Dave” Sparks, a severely handicapped fan who became something of a celebrity at conventions before passing in December 2011. It’s stories like Sparks’ that redeem Get a Life!, which is otherwise bogged down by uncreative portraits of typical Trek geekery.
So should you watch? It's no question that Shatner has come full circle with his relationship to the series, and this documentary, despite its shortcomings, is Shatner's odd-duck version of a love letter to fans. It's worth a glimpse, especially given the dearth of interesting counter-programming during the Olympics. Although it doesn't break any ground, let's face it — when it comes to Star Trek, resistance is futile.
Follow Marc on Twitter @MarcSnetiker
[Photo Credit: Epix]
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Played recurring role of Georginna Sinclair on several episodes of the ABC primetime sequel soap opera, "The Colbys"

Had early TV roles on daytime dramas "One Life to Live" and "Ryan's Hope", credited as Nan Tucker

Appeared on Broadway in "My One and Only"; also understudied Twiggy in lead role

Played Peggy Saywer in L.A. stage production of "42nd Street"

Played Bryn Newhouse on the short-lived NBC sitcom, "Working Girl", based on the 1988 feature film

Summary

A lithe TV actress with reddish brown hair and a healthy level of nervous energy, very prolific in TV guest spots since the late 1970s, Nana Visitor can be found playing a wide variety of roles on series ranging from "MacGyver" to "Doogie Howser, M. D." and "Murder, She Wrote". Her first try at a regular role in a series, "Working Girl", with Sandra Bullock in the lead, fizzled after eight episodes. Visitor rebounded several years later, though, with "Star Trek: Deep Space Nine" (1993-99), in which she gained favorable viewer response as the feisty, indeed punchy, Bajoran officer Major Kira.

Name

Role

Comments

Django El Tahir El Siddig

Son

born September 16, 1996; father, Alexander Siddig

Paris Tucker

Brother

Nenette Charisse

Mother

taught dance; deceased

Nick Miscusi

Husband

married c. 1990; divorced in 1994

Buster Miscusi

Son

born in April 1992; father, Nick Miscusi

Matthew Rimmer

Companion

met during her run in "Chicago" on Broadway; became engaged in fall 2001

Alexander Siddig

Husband

co-starred together on "Star Trek: Deep Space Nine"; married on June 14, 1997; divorced in 1999

Robert Tucker

Father

worked on several Broadway shows including "Shenandoah"

Ian Tucker

Brother

appeared in "Gypsy" with Ethel Merman and "Peter Pan" with Mary Martin

Zan Tucker

Sister

received Tony nomination for playing Gypsy Rose Lee in the 1975 revival of "Gypsy"